son that lay behind Frohman's success as star-maker was the fact
that he wove a great deal of himself into the character of the stars. In
other words, the personal element counted a great deal. When somebody
once remonstrated with him about giving up so much of his valuable time
to what seemed to be inconsequential talks with his women stars, he
said:

"It is not a waste of time. I have often helped those young women to
take a brighter view of things, and it makes me feel that I am not just
their manager, but their friend."

Indeed, as Barrie so well put it, he regarded his women stars as his
children. If they were playing in New York they were expected to call on
him and talk personalities three or four times a week. On the road they
sent him daily telegrams; these were placed on his desk every morning,
and were dealt with in person before any other business of the day. He
had the names of his stars printed in large type on his business
envelopes. These were so placed on his table that as he sat and wrote
or talked he could see their names ranked before him.

When his women stars played in New York he always tried to visit them at
night at the theater before the curtain went up. He always said of this
that it was like seeing his birds tucked safely in their nests. Then he
would go back to his office or his rooms and read manuscripts until
late.

One phase of Charles's great success in life was revealed in this
attitude toward his women stars. He succeeded because he mixed sentiment
with business. He was not all sentiment and he was not all business, but
he was an extraordinarily happy blend of each of these qualities, and
they endeared him to the people who worked for him.

The attitude of the great star toward Frohman is best explained perhaps
by Sir Henry Irving. Once, when the time came for his usual American
tour, he said to his long-time manager, Bram Stoker, who was about to
start for New York:

"When you get to America just tell Frohman--you need not bother to write
him--that I want to come under his management. He always understands. He
is always so fair."

One detail will illustrate Frohman's feeling about stars, and it is
this: He never wanted them, male or female, to make themselves
conspicuous or to do commonplace things. He was sensitive about what
they said or did. For example, he did not like to see John Drew walk up
and down Broadway. He spent a fortune sheltering Maude Adams from all
kinds of